Hollywood Movie Physics to Personalize Assessments

2021 ◽  
Vol 59 (5) ◽  
pp. 325-327
Author(s):  
Kurtz K. Miller
Keyword(s):  
Hollywood Movie

PINGVINAS IR PROTĖJAS. Įsivaizdavimas kaip kitybė manyje

2007 ◽  
Vol 4 ◽  
pp. 21-37
Author(s):  
Kristupas Sabolius
Keyword(s):  
Fight Club ◽  
The World ◽  
The Moment ◽  
Hollywood Movie

Kitybės klausimas dažniausiai kyla iš ego santykio su kitais arba su pasauliu. Šiame straipsnyje daroma prielaida, kad įsivaizdavimo funkcija ištirpdo subjektą ir jame pačiame atveria intersubjektyvią perspektyvą. Šiuo tikslu sugretinami Sartre’o, Husserlio bei Merleau-Ponty įsivaizdavimo funkcijos tyrimai, kuriuose išryškėja vaizdo kaip iš ego centro išslystančios ribos statusas, ir Holivudo filmo „Kovos klubas“ siužetas. Viename iš šios juostos epizodų pasirodantis pingvinas žymi egologinės schizmos akimirką ir tampa fantazijos apsireiškimu ir įsikūnijimu.Išgryninus žaidybinį, savarankišką ir multiformišką charakterį, galime konstantuoti, kad įsivaizdavimas, jei kalbėtume Kanto terminais, yra ne papildanti tarpinė funkcija, bet transcendentalinio subjekto genezėje atlieka paradoksalų „svetimos vidujybės“ arba „vidinės svetimybės“ vaidmenį. Vaizduotė yra katalizatoriaus, kuris, likdamas šalia, įgalina transcendentalinių formų išsikristalizavimą.Pagrindiniai žodžiai: vaizduotė, įsivaizdavimas, fantazija, ego, kitybė, sąmonė.PENGUIN AND PROTEUSImagination as Otherness in meKristupas Sabolius SummaryThe question of Otherness is usually taken into account while discussing the Ego’s relation with Others as well as with the World. This article is based on the premises that the function of phantasy melts the subjectivity, revealing the perspective of intersubjectivity within it. On this purpose Sartre’s, Husserl’s and Merleau-Ponty’s researches on the function of imagination, which elucidate the image as the boundary slipping from the centre of Ego, are compared to the story of Hollywood’ movie „Fight Club“. The penguin, which appears in one of the episodes, registers the moment of egological schism, thus becoming the revelation and incarnation of phantasy. While the playful, autonomous and multiform character of imaginary is cleared out, we can ascertain, speaking in Kantian terms, that it has not a complementary or intermediary function, but, in the genesis of transcendental subject, plays the paradoxical role of „allien innerness“ or „inner alienity“. Thought remaining always beside, imagination is a catalyzer which enables crystallization of transcendental forms.Keywords: imagination, imaginary, phantasy, ego, otherness, consciousness.

POSITIVE POLITENESS STRATEGIES IN MIDNIGHT IN PARIS MOVIE BY WOODY ALLEN

2018 ◽  
Vol 6 (1) ◽  
pp. 38-52
Author(s):  
Wirdah Amaliyah Permadi
Keyword(s):  
Qualitative Method ◽  
Woody Allen ◽  
Politeness Strategies ◽  
Cooperation Strategy ◽  
Hollywood Movie

This study is an analysis of positive politeness strategies in Midnight in Paris movie by Woody Allen. The writer takes positive politeness strategies in a movie because the writer believes that people can learn pragmatics deeper through a movie and wants to see how the positive politeness strategies are employed in a movie through dialogues, since the writer also believes that understanding politeness is important. The aims of this study are to mention and describe the kinds of positive politeness strategies that are employed by the characters in Midnight in Paris movie and to explain the reasons that influence the characters to employ those strategies. This study uses qualitative method. The source of the data is taken from a Hollywood movie entitled Midnight in Paris by Woody Allen. The data is in the form of sentences which deal with utterances related to the positive politeness strategies. The data are utterances employed by the characters from the movie which indicate positive politeness strategies. The data are analyzed into kinds of positive politeness strategies. The writer finds that there are 13 positive politeness strategies in this movie from 50 data. Exaggerate (interest, approval, sympathy with H) strategy is the most dominant kind of positive politeness strategies employed by the characters in Midnight in Paris movie with 15 data, while both assert or presuppose knowledge of and concern for the hearer’s wants strategy and give gifts to H (goods, sympathy, understanding, cooperation) strategy are the lowest with only 1 datum of each strategy.

Management Buy-Outs a Hollywood Movie with a Great Ending?

2014 ◽  
Author(s):  
George P. Kyprianides ◽  
Leoni Kyprianidou
Keyword(s):  
Hollywood Movie

Citizen Ken: Branagh, Shakespeare, and the movies

2021 ◽  
pp. 018476782199998
Author(s):  
Samuel Crowl
Keyword(s):  
Orson Welles ◽  
Kenneth Branagh ◽  
Franco Zeffirelli ◽  
Hollywood Movie

As Kenneth Branagh turns sixty, he finds himself honoured by the English theatrical world as the restored heir to its tradition of the actor-manager, having created a theatre and film career unlike any other. He is an actor-manager-film director who builds on the tradition he inherits from Laurence Olivier, Orson Welles, and Franco Zeffirelli even as he revises it. This overview of his career reveals that he can do small and tidy, but his cinematic imagination first feasts on Hollywood movie genres – noir thrillers, murder mysteries, Disney classics, Superhero fantasies, spy films, musicals, and bio-pics – then feeds his lasting legacy to Shakespeare on film.

Development and Demise of Rosewood

2018 ◽  
Author(s):  
Edward González-Tennant
Keyword(s):  
United States ◽  
Eighteenth Century ◽  
American History ◽  
The United States ◽  
State Legislature ◽  
Media Attention ◽  
Social Trends ◽  
History Of ◽  
The Town ◽  
Hollywood Movie

Chapter 2 presents a history of Rosewood beginning with a brief overview of previous research into the town’s past. Most of the research takes place in response to a statewide conversation in the early and mid-1990s. Growing media attention encouraged Floridians to grapple with the meaning of Rosewood’s destruction in the past and present. The attention encouraged the state legislature to compensate the survivors and descendants of the massacre; that compensation represents the primary example of reparations granted to African Americans in the United States. To better understand the events of 1923, Florida’s state legislature commissioned a group of historians to investigate and write a concise history of the town and its destruction. The resulting report, based on four months of research, remains the authoritative treatment of the 1923 riot. The report, a few articles, a popular book, and a Hollywood movie all contribute to public knowledge and representations of Rosewood. González-Tennant’s overview of Rosewood’s history adds to previous research by offering a comprehensive look at similar events in American history. González-Tennant contextualizes Rosewood within broader social trends beginning in the eighteenth century and continuing until today.

The Glamorous Crowd: Hollywood Movie Premieres Between the Wars

1986 ◽  
Vol 38 (4) ◽  
pp. 553 ◽  
Author(s):  
David Karnes
Keyword(s):  
Hollywood Movie

scholarly journals What’s the value of a star? Actor familiarity and likeability effects on emotional mimicry of cinematic displays

2019 ◽  
Vol 7 (1) ◽  
pp. 4-16
Author(s):  
Elen Lotman ◽  
Alan Voodla ◽  
Andero Uusberg
Keyword(s):  
Film Industry ◽  
Meta Analysis ◽  
Movie Industry ◽  
Star Power ◽  
Hollywood Films ◽  
Hollywood Movie

AbstractResearchers and practitioners have long been intrigued by the role of stars in the film industry (McDonald 2005). Actors with star status can enhance the economic prospects of a film (Wallace et al. 1993). For instance, replacing average stars with top stars has been shown to increase revenue (Nelson, Glotfelty 2012). A meta-analysis of 61 studies collating data from 1545 films has shown the significant effect of commercial star power on Hollywood films’ revenues (Hofmann, et al. 2017). The Hollywood movie industry can be viewed as a system that maintains and regulates the popularity of existing and emerging stars through agents, producers and award systems (McDonald 2013).

scholarly journals Catarse e final feliz

2018 ◽  
Vol 8 ◽  
pp. 127-132
Author(s):  
Myriam Ávila
Keyword(s):  
Fairy Tales ◽  
Fairy Tale ◽  
Bruno Bettelheim ◽  
Hollywood Movie

Resumo: É a certeza de que nada mais – ou nada importante – pode acontecer após o final de um conto que permite o acontecimento da catarse. Se na maioria das narrativas existe algum tipo de dénouement, em algumas delas isso acontece de maneira especialmente satisfatória e afirmativa. O conto de fadas é uma dessas formas narrativas onde o efeito catártico é extremo e preenche objetivos específicos, de acordo com Bruno Bettelheim. Hollywood mimetizou essa forma como estratégia de sedução, iniciando a tradição do final feliz no cinema. A partir do conto de fadas Cinderela, em diferentes versões, juntamente com a animação homônima da Disney e ainda duas versões do filme Sabrina, será traçada aqui uma relação entre a catarse e o final feliz nos contos de fada, bem como seu uso pela indústria cultural.Palavras-chave: catarse; contos de fada; Hollywood.Abstract: It is the certainty that nothing else – or nothing important – can happen after the closing of a tale that allows catharsis to take place. If in most narratives there is a kind of dénouement, in some forms it will be specially satisfactory and reassuring. The fairy tale is one of those forms in which the cathartic effect is uppermost and fulfills specific aims, according to Bruno Bettelheim. The Hollywood movie mimetized its form as strategy of seduction, starting the tradition of the happy end in film. Taking as a model the fairy tale “Cinderella” in different versions, along with Disney’s homonimous animation and two versions of the film “Sabrina”, a relation will be traced here between catharsis and happy end in fairy tales and its use in the cultural industry.Keywords: catharsis; fairy tales; Hollywood.

Sign in / Sign up

Export Citation Format

Share Document